A Case Study on Lighting for Museums and Galleries Final

8/16/2019 A Case Study on Lighting for Museums and Galleries Final

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A Case Study on

Lightingfor Museums and Galleries


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This Project is delivered by Museums & Galleries Queensland in partnership withMuseums & Galleries of NSW, Regional and Public Galleries Association of NSW andRegional Galleries Association of Queensland.

Museums & Galleries Queensland is supported by the Queensland Government throughArts Queensland, and is assisted by the Australian Government through the AustraliaCouncil, its arts funding and advisory body.

Museums & Galleries of NSW is supported by the NSW Government through Arts NSW.

This Activity received funding from the Australian Government as a part of the EnergyEfficiency Information Grants Program and is supported by the Visual Arts and CraftStrategy, an initiative of the Australian state and territory governments.


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Project Team

Museums & Galleries Queensland:Rebekah Butler

Museums & Galleries of New South Wales:Michael Rolfe

Regional Galleries Association of Queensland:John Walsh

Regional and Public Galleries Association of New South Wales:Debbie Abraham

Steensen Varming:Chris ArkinsEmrah Baki Ulas

Ashleigh Bretherton

International Conservation Services:Julian BickerstethFiona Tennant

With special thanks to:Simm Steel (Art Gallery of New South Wales), Debbie Abraham (Lake Macquarie City ArtGallery), Tania Creighton (UTS Gallery), Jane Cush (Goulburn Regional Art Gallery),Belinda Hanharan (Hazelhurst Regional Gallery and Arts Centre)

Authors

Emrah Baki UlasAshleigh Bretherton

TypefaceVarming (Copyright © 2013, Steensen Varming)

Cover ImageBrett Whiteley Studio (Copyright © 2015, Steensen Varming)

Copyright © 2015, Steensen Varming,

Sydney/AustraliaAll rights reserved.


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Disclaimer

The inclusion of products and suppliers does not imply endorsement or support of any ofthe services, products or providers by Museums & Galleries Queensland or project

partners. Users of this publication are responsible for independently verifying any and allinformation, services, products or providers.

Whilst this document aims to provide information that is as accurate as possible for eachcase study, there may be a tolerance to the data provided. The energy saving figures actas an indication of the potential contribution that lighting upgrades can make to the overallgallery/museum building.

The views expressed herein are not necessarily the views of the Commonwealth ofAustralia and the Commonwealth does not accept responsibility for any information oradvice contained herein.

This publication is primarily intended to provide guidance for facilities staff at museums,

galleries, cultural and archival facilities. It is not intended to be exhaustive or definitive asthe issues addressed continue to be a major topic of discussion and debate. It isrecommended for users of this guide to exercise their own professional judgement andconsult suitably qualified professionals when deciding whether to abide by or depart fromit.


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Page 6 / 25 A Case Study on Lighting for Museums and Galleries

Contents 1.0 Introduction 7

2.0 Objectives 8 2.1 Demonstrate energy saving initiatives 8 2.2 Be relevant for different project scales 8

3.0 Case Study 9 3.1 Institution #1: Art Gallery of New South Wales Brett Whiteley Studio 9 3.2 Institution #2: Lake Macquarie City Art Gallery 15 3.3 Institution #3: University of Technology Sydney (UTS) Gallery 18 3.4 Institution #4: Goulbourn Regional Art Gallery 21 3.5 Institution #5: Hazelhurst Regional Gallery and Arts Centre 23

4.0 Summary 25


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1.0 IntroductionThe aim of these case studies, is to canvass a range of different lighting solutionsavailable today to museums and galleries. It is also hoped that they will inform therelevant decision makers on the various aspects of these solutions and assist in makingsustainable decisions for future lighting upgrades for their institutions.

The document demonstrates, how today’s museums and galleries can achieveextensive energy savings utilising energy efficient technologies that also providesuitable exhibition display conditions for collections, visual comfort, performance andenjoyment for visitors. The document studies a range of options and strategies formuseums and galleries. It is not intended to preclude professional advice, rather it isdeveloped to aid in identifying options suitable for a particular situation and in sodoing, to act as a companion to, professional lighting design input.

This study received funding from the Australian Government as a part of the EnergyEfficiency Information Grants Program and is designed to be most relevant tomuseums and galleries in Australia. It is worth noting, however, that it is developedwith many years collective experience in the museum and gallery sector coveringlocations all over the world. The technical issues discussed are of regular debate and

should always be considered with specific regards to the ongoing research anddevelopment in the related fields. This document provides principles that are largelyapplicable to, or at least informative for most facilities globally.

This document utilises a series of case studies as industry benchmarks to present howthese technical issues have been addressed by like-minded galleries of varying scalesand budgets. They offer ideas on a range of solutions that contribute towards energysavings, and provide feedback to other galleries looking to upgrade their facilities inthe future.

A number of Institutions have been studied in this document based on:

Their potential to demonstrate sustainable approaches;

Their relevance to Australian museums and galleries;

The variety of solutions they have adopted in their lighting systems; Ease of access to their information and communication; Their recent lighting upgrade projects which can become a benchmark for

other institutions.

The selected Institutions are:

1.

Brett Whiteley Studio (Managed by the Art Gallery of New South Wales(AGNSW)): Complete lighting and lighting control refurbishment, includingnew LED luminaires, new lighting track infrastructure and new DigitallyAddressable Lighting Interface (DALI) lighting control system

2. Lake Macquarie City Art Gallery: Upgrade to LED luminaires and DALI controlsystem, whilst keeping existing track infrastructure in place

3.

University of Technology Sydney (UTS) Gallery: Keeping the existinglighting control infrastructure and upgrading the lighting tracks and theluminaires

4. Goulbourn Regional Art Gallery: Minor upgrade on a small budget throughrelamping of existing luminaires with LED retrofit lamps

5. Hazelhurst Regional Gallery and Arts Centre: Upgrade keeping existinglighting track infrastructure, replacing existing luminaires and upgradinglighting control system (project not yet undertaken)


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2.0 ObjectivesThrough in-depth analysis of the five different lighting upgrades, this document aimsto address the following objectives.

2.1 Demonstrate energy saving initiatives

This document aims to demonstrate how to achieve extensive energy savings utilisingenergy efficient technologies that also provide suitable exhibition display and addressconservation requirements.

In evaluating the success of an installation, it is important to address the public userexperience alongside the facility management experience. Any energy savinginitiatives should also offer an improved visual experience through quality of light, aswell as improved long-term maintenance and efficiency of the system.

2.2 Be relevant for different project scales

Through inclusion of varying lighting upgrades this document aims to provide usefulinformation for the benefit of museums and galleries in Australia, to suit varyingbudgets, sizes and to provide an understanding of real benefits that are achievablefor different circumstances.


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3.0 Case Study

3.1 Institution #1: Art Gallery of New South WalesBrett Whiteley Studio

3.1.1

Context

Size of Refurbishment: Approximately 360m²

Project Price Bracket: Over $200,000

Project Description: The Brett Whiteley Studio is a local gallery operating under theArt Gallery of New South Wales (AGNSW). The LED lighting upgrade completed in2014 acted as a pilot project for future lighting upgrades for the larger galleries withinthe AGNSW. A complete LED lighting refurbishment was undertaken, including newLED luminaires, new track infrastructure, and a new DALI lighting control system.

All outdated lighting tracks, track mounted luminaires, security lighting, emergency and

exit lighting were replaced with an integrated system.

Previous Installation:

Track layout and offset from the wall was not ideal for artwork lighting.

Original tracks with incandescent fittings had high energy consumption andwere utilising phased-out technology.

Original lighting fixtures had limited optical control. Lighting control was via traditional rotary dimmers from 1996 offering limited

flexibility. Exit and emergency luminaires consisted of a single point non addressable

system with individual batteries. Fittings were obtrusive, large and lessefficient than newer technology.

Security lighting was through separate fluorescent battens with no opticalcontrol. Surface mounted conduits to other services such as smoke detectors were

exposed and obtrusive.

Brett Whiteley Studio Pre-Lighting Upgrade. Photo by Art Gallery of New South Wales.


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The main objectives of the refurbishment:

Improve the gallery’s performance in terms of sustainability, maintainability

and safety; Provide lighting to optimise art viewing conditions with consideration to

conservation and photo-degradation requirements; Minimise glare and discomfort;

Provide a lighting solution that features intelligence and adaptability that isalso in line with the original architectural fabric;

Provide a lighting system that achieves energy savings through efficientluminaires and intelligent control;

Minimise maintenance costs.


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3.1.2 Lighting Solution

Gallery Lighting

All lighting track was replaced with new DALI lighting track. In the traditional galleryspaces, the track was recessed in the plasterboard for a more seamless aesthetic.Track locations were revised to provide optimal offset from the gallery walls. Althoughthis resulted in greater lengths of track than the previous installation, the luminaires

can be located where they are needed to provide a seamless lighting scheme. Thisoffset also reduces glare from the light source on the artwork glass, providing a moreoptimal location, enhancing the viewer experience.

All existing surface mounted conduits were re-located within walls for a cleaner visualenvironment.

The original vertical tracks were also upgraded, however the visual intent remained inline with the original design. New LED fittings replaced previous incandescent fittingsfor general circulation and artwork lighting, and were programmed accordingly. Glareshields were added to fittings where required for visual comfort.

Brett Whiteley Studio Post-Lighting Upgrade. Photo by Art Gallery of New South Wales.


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Emergency and Exit Lighting

New LED emergency and exit luminaires were provided, resulting in not only anenergy benefit, but also a more integrated visual aesthetic. Where possible, theemergency luminaires were integrated into the base of the vertical tracks to reduce thevisual lighting infrastructure and create a streamlined aesthetic. The new fittings werealso provided with long-life lithium batteries for increased longevity of the installation,and reduced maintenance requirements.

Lighting Control

An intelligent DALI lighting control system was installed in the gallery to provideflexibility and adaptability of the lighting control system.

The gallery has been zoned to three DALI universes with specific gallery spaces

assigned to each universe for ease of programming. A control universe refers to anetwork of fittings that can be controlled by one DALI controller. Each universe, ornetwork, can control a maximum of 64 addresses, though it is recommended not toload the network to 100%. Within these universes all luminaires are separatelyprogrammable. These levels can be set by the gallery staff through a mobile device/


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tablet application. Scenes can be selected through either the mobile device/tabletapplication or the dynalite switchpanel.

The general modes that have been considered include:

1.

Open for Visitors: Artwork lighting luminaires are individually programmableand are set to levels to suit artwork requirements. A selection of fittings thatface downwards, rather than at the artworks are set to a level to providegeneral circulation lighting. Each time an installation is changed the luminaire

settings need to be reviewed and adjusted as required through individuallyaddressing the lights from the mobile device/tablet application. Theluminaires that are used for circulation lighting are also used in the followingtwo settings.

2.

After Hours Security: Selected luminaires identified for circulation lighting aredimmed to 20% for this mode.

3. Working/Cleaning: Selected luminaires identified for circulation lighting aredimmed up to 100% for this mode.

The DALI control system provides adaptability and flexibility for the changing nature ofa gallery space.

Spare capacity has been in-built into the system as a contingency for future additionalluminaires.

3.1.3 Discussion

The Brett Whiteley Studio LED lighting upgrade achieves energy initiatives throughimplementation of the following:

1. Replacement of incandescent luminaires with LED

The original 60W R80 and 100W incandescent track luminaires were replaced with thefollowing new LED luminaires:

43 x New Erco Lightboard 12W LED (Various lenses)25 x New Erco Optec 12W LED (Various lenses)58 x New Erco Optec 24W LED (Oval Flood)

The quantity of luminaires was replaced ‘like for like’, with the 60W incandescentfittings being replaced with 12W LED fittings and the 100W incandescent fittings beingreplaced with 24W LED fittings.

As a comparison of the energy reduction, the total wattage of the previous fittingsresulted in a load of 9,880W which was reduced to 2,264W in the lighting upgrade.This produced an energy reduction of 77%.

Another benefit of moving to LED is the reduced maintenance costs that areanticipated, due to the longer life of the LED light source versus a traditionalincandescent bulb. This is of particular importance for this installation due to the highmounting location of central vertical track fittings.

2. Improved Light Quality

Extensive testing of a range of LED suppliers was undertaken to provide the bestsolution for the gallery space to ensure that the use of LED would improve the userexperience. The quality of light, fitting aesthetic, power consumption, fitting size,fitting flexibility and cost were all evaluated. The selected fitting offers a range oflenses and wattages within the same family, which was a benefit for this gallery space.Circular fittings were utilised with elliptical beams for general wall lighting with a range

of spot and flood lenses used where required. As the lenses are interchangeable, thisimproves the flexibility and adaptability of the gallery lighting scheme. The LED colourrendering was found acceptable when compared to the older incandescent fitting withgood differentiation between the whites in the paintings.


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3.

Upgrade of Emergency and Exit Luminaires

New LED Emergency and Exit luminaires with long-life lithium batteries reducemaintenance requirements and also reduce energy consumption. This is a low-costoption to achieve an energy saving.

4.

Intelligent Programmable Lighting Control and Lighting Optimisation

The lighting control in the Brett Whiteley Studio plays an important role in operational

savings for electrical consumption, in extending the lifetime of the luminaires and inreducing system maintenance.

Programming of the intelligent lighting control system allows the setting of lightingcontrol scenes to reduce illuminance levels where possible and conserve energy.Efficient aiming of light at dimmed levels is also beneficial from a conservational pointof view, reducing the lux hours on the artwork.

This is supported by the after hours lighting strategy which utilises a select group offittings dimmed to a low level, and aimed at the floor to provide safe movement. Thisis an improvement on the previous design that utilised fluorescent battens for securitylighting with little optical control. The same luminaires are also programmed todifferent dimmed levels to carry out the functions of circulation and working/cleaning.

The multi-functional use of these luminaires assists in reducing capital costs.

Whilst the initial programming of luminaire dimming levels requires greater time,skilled labour and cost than a traditional lighting control system, the long-termmaintenance is anticipated to be reduced. Re-programming fittings or programmingnew fittings requires staff training, however the flexibility and adaptability offered bythe system is a big benefit for changing gallery installations and offers a high level ofcontrol.

3.1.4 Lessons Learnt

The gallery has noted some technical issues with the operation of the system with alag when connecting from the tablet to the AGNSW server when re-setting thedimmed levels. Due to the specific control set-up requirements of this gallery, thelocal lighting control system communicates with the main gallery. Options need to befurther investigated to increase the speed with the server communication, to improveresponse time.


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3.2 Institution #2: Lake Macquarie City Art Gallery

3.2.1 Context


Project Price Bracket: $100,000 - $200,000

Project Description: The Lake Macquarie City Art Gallery is a renowned regionalgallery. The proposed lighting upgrade forms part of the gallery’s sustainability andenvironmental strategy to minimise the building’s carbon footprint. The lightingupgrade proposes retaining the existing track infrastructure, and providing new LEDtrack fittings and a new lighting control system. It should be noted that this project isin progress and was not completed at the time of producing this resource, howeverthe information endeavours to be as factual as possible.


Traditional, mostly incandescent lamp track fittings that had a considerable

footprint on the building performance, both in terms of direct lighting load aswell as air conditioning cooling load.

Lighting infrastructure had become obsolete due to the phasing outincandescent light sources and the difficulty of finding replacement lamps.

Existing leading edge dimming system was not compatible with dimming

new LEDs to low levels. This is a common issue with existing controls andnew LED systems as the new LED luminaires may not fully dim, oftendimming from 10% to 0% rather than smoothly dimming down.


Reduce the lighting consumption load to reduce the building’s carbon

footprint; Provide a new lighting scheme that addresses quality of light and

sustainability of the lighting systems;

Retain functional track element.


General Gallery Lighting

As the existing track infrastructure is in good working condition, and already located insuitable locations and offset from the walls, it is proposed to be retained in theupgrade. The existing Erco track is to be re-configured to take the DALI dimmingprotocol of the new LED luminaires.

The existing Clipsal leading edge dimming system operating luminaires in the gallery’sexhibition space is to be replaced with a Tridonic DALI lighting control system to allowa more flexible lighting solution that is more compatible with LED sources. The DALIsystem allows greater control over the lighting pre-sets and individual addressing ofartwork lighting luminaires to specific levels. The existing Clipsal dimming system willbe retained for the l ighting control of areas outside of the upgrade.

The existing incandescent fittings of the exhibition space are proposed to be replacedwith new LED track luminaires for greater energy efficiency, reducing energyconsumption of the lighting load and a reduction in the heat load.

Lighting Control

A new DALI lighting control system is proposed to provide complete flexibility of thelighting control system. Programming and other functions, such as addressing andcommissioning new luminaires, is to be carried out through a tablet application.


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To provide future flexibility, the track mounted wallwasher luminaires are to besupplied with 170 interchangeable lenses of varying distributions including wallwash,flood and spot to suit the changing needs to the gallery space.

As a comparison of the energy reduction, the total wattage of the previous fittingsresults in a load of 19,700W which will be reduced to 3,660W in the lighting upgrade.This will result in an energy saving of 82%, plus additional savings for the reduced heatload of the luminaires and the implication of this on the mechanical cooling systems.

2. Improved Light Quality

The new LED track fittings had to offer a solution that was acceptable in terms of thepresentation of the cultural material on display and also in consideration of thepreventative conservation requirements of the gallery. The new LED fittings:

have a high colour rendering index; are dimmable to suit the specific display requirements;

have controlled optics; and have interchangeable lenses to place light where needed.

3.


The new lighting control system will allow individual and grouped luminaires to beprogrammed to the required dimming levels, thus optimising the lighting scheme.

The system will utilise internet (Cloud) monitoring to track and record all lightingactivity, including energy use, DALI line features, failed ballast, lamp failures,emergency function and duration test results, thereby streamlining maintenanceprocedures. This information will be accessible remotely and at any time by gallerystaff for reporting and analysis. The use of this monitoring function offers the potentialfor savings in maintenance and the potential to increase longevity of luminairesthrough analysis of use. It will also assist the gallery in planning for future expensesand its maintenance regime.

The use of three DALI universes maximises the efficiency and ease of programming.The use of defined pre-set scenes will assist in maximising the life of the luminairesand in providing the required illuminance where needed.

The new lighting control system will be programmed to align with the open/closefunction of the entire building, streamlining the control between the new and existingsystems.

4.

Retaining working/functional existing equipment

The re-use of working/functional existing track infrastructure equipment not onlyreduced the capital costs of the new installation but also offered an environmentallyconsiderate approach.


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3.3 Institution #3: University of TechnologySydney (UTS) Gallery

3.3.1 Context


Project Price Bracket: $25,000 - $100,000

Project Description: The UTS Gallery is a small, privately-run flexible gallery spacewithin the UTS campus. The gallery showcases a wide range of interdisciplinaryworks requiring a flexible lighting solution. The lighting upgrade involved replacementof lighting track and upgrade to new LED luminaires. The lighting control system wasleft in place, rather than removed, and is used as a time clock to turn the fittings onand off to suit the gallery occupancy requirements. The new LED luminaires aredimmed on-board.


Luminaires breaking due to location and mounting of track.

Leading edge dimming 15-20 years old (spare parts and replacement partsno longer stocked and are difficult to source).

Existing luminaires were a combination of tungsten halogen, incandescent

and dichroic, contributing to a significant lighting load.


Provide a lighting upgrade within budget with a simple user interface;

Provide a cohesive lighting solution to the gallery space; Reduce the incidence of luminaire and track adapter breakages by addressing

the track luminaire mounting issues; Consider future proofing of the lighting scheme.


Gallery Lighting

Although the existing track was still in good working condition, the mountingarrangement and type of track limited the options of compatible new fittings. Allexisting track and track luminaires were therefore replaced with new Erco lighting trackand new Erco LED luminaires. The new track was mounted flush within the existingtrack support channel to ensure new fittings could be easily inserted and removed,which was a significant improvement on the previous arrangement.

Whilst the existing leading edge dimming system was not compatible with the newLED luminaires, it was retained to act as a time clock to turn the lighting on and off asper the existing settings for the gallery occupancy requirements.

Due to the size and nature of the gallery, as well as budget constraints, it was decidedthat the new LED luminaires were to be individually dimmed on-board at each fitting.Whilst this is a labour intensive exercise for each exhibition, and does not provide thesame level of accuracy that is offered by an intelligent programmable dimming system,it is a simple and cost effective solution suitable for this gallery space. In addition, asthe fittings do not need to be programmed or individually addressed on the lightingcontrol system, no user training is required, thus eliminating this cost.


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UTS Gallery Post-Lighting Upgrade. Photo by Emrah Baki Ulas

3.3.3 Discussion

The UTS Gallery LED lighting upgrade achieves energy initiatives throughimplementation of the following:

1. Replacement of Halogen, Incandescent and Dichroic luminaires with new LEDluminaires

Though a small lighting upgrade, the change to LED has improved the efficiency of thegallery.

The original installation was comprised of the following track luminaires (approximate):

20 x 100W Bi-Pin Incandescent Spotlights12 x 300W Tungsten Halogen Wallwashers10 x 35W Dichroic Luminaires

These were replaced with:

24 x 24W Erco Optec9 x 24W Erco Lightboard

Due to a consistent lighting typology and optic that was more suitable for the gallerydesign, the quantity of fittings was reduced. As a comparison of the energy reduction,the total wattage of the previous fittings results in a load of 5,950W which wasreduced to 792W in the lighting upgrade. This resulted in an energy reduction ofapproximately 87%.

Another cost benefit of the new installation is the revised mounting location of thetrack, which allows luminaires to be easily fitted in the track, significantly reducing thepotential for breakages that was prevalent in the previous installation. Thissignificantly reduces maintenance costs of the luminaires.

2.

Re-use of existing functional equipment

Retaining the existing leading edge lighting control system not only minimised theassociated labour costs of the removal of the system, but also eliminated the need toinstall a new time clock. Whilst the functionality as a dimming system was obsolete,the infrastructure still functioned successfully for the new required purpose.


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Whilst the on-board dimming function was selected for simplicity and cost implications,recent short-term exhibitions/events within the space have highlighted the limitationsof this type of control. As fittings are individually set and not able to be dimmed in agroup, setting the levels is a time consuming process and cannot be carried out atshort notice if requested. It has also been noted by the gallery that the on-boarddimmer knob is stiff and can be difficult to move to the right dimming level.


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3.4 Institution #4: Goulbourn Regional Art Gallery

3.4.1 Context


Project Price Bracket: Under $25,000

Project Description: Goulburn Regional Art Gallery is administered by GoulburnMulwaree Council, NSW. It showcases regional and national exhibitions, and presentsa range of education and public program activities. A minor lighting upgrade wasundertaken, retaining existing track, track fittings and control system, and upgradingthe existing luminaire with LED replacement bulbs.


Traditional, mostly 120W PAR38 incandescent lamp track fittings and 50W

MR16 wall mounted spotlights with large energy consumption Traditional on/off lighting control with no dimming function


Provide a more energy efficient solution through LED sources on a limitedbudget.

Provide a lighting scheme that enhanced the appearance of the artworksshowcased in the space and responded to conservation requirements.


Gallery Lighting

Due to a limited budget, the scope of work for the lighting upgrade was minimal. Allexisting track infrastructure, track luminaires and traditional lighting control were

retained. The existing luminaires were upgraded with 18W LED Par38 replacementbulbs and the existing wall luminaires were replaced with 10W LED MR16 fittings.These were controlled through the existing on/off lighting control system.

The new LED bulbs and LED luminaires offer good colour rendering and spectraldistribution to enhance the user experience, and provide suitable lighting to addressconservation requirements.

Goulburn Regional Art Gallery Post-Lighting Upgrade. Photo by Mim Stirling.


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3.4.3 Discussion

The Goulburn Regional Art Gallery LED lighting upgrade achieves energy initiativesthrough implementation of the following:

1. Replacement of existing traditional light sources with new LED replacementbulbs

The lighting upgrade offers the gallery a more energy efficient lighting solution, withthe replacement bulbs having a lower power consumption with a greater lightingoutput. The main energy savings are seen through this reduced power consumption.

The original installation was comprised of the following luminaires:

55 x 120W Par38 Incandescent Track fittings12 x 50W MR16 Wall mounted spotlights

These were replaced with:

55 x 18W Par 38 LED Philips replacement bulbs to existing spotlights12 x 10W LED MR16 Gamma Illumination Fex wall mounted spotlights

As a comparison of the energy reduction, the total wattage of the previous lightingscheme results in a load of 7,200W which was reduced to 1,110W in the lightingupgrade. This resulted in an energy reduction of 84%.

2. Reduced maintenance costs

Due to the longer life expectancy of LED bulbs versus traditional light sources, thegallery can expect to see savings in maintenance and replacement of lamps.


The project demonstrates how extensive energy savings can be achieved andmaintenance requirements can be drastically improved even on limited budget, whilealso improving the lighting conditions for the display of the artworks.


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3.5 Institution #5: Hazelhurst Regional Gallery andArts Centre

3.5.1

Context


Project Price Bracket: N/A (Proposed Upgrade Only)

Project Description: Hazelhurst Regional Gallery and Arts Centre is a regional gallery,community gallery, arts centre and café. A lighting upgrade has been proposed for themain community gallery area. The proposed lighting upgrade is yet to beimplemented, however the design offers examples of lighting upgrade initiatives,including upgrade of existing track to suit DALI protocol, upgrade of existing trackluminaires to LED luminaires, and upgrade of existing fluorescent cove lighting to LEDstrip lighting.


Existing luminaires for general gallery lighting were a combination of 150W

Erco wallwashers and mono-points. 3-Circuit Erco track in good working condition. Architectural lighting through fluorescent batten uplighting of cove and wall

mounted 150W metal halide uplighters.


Provide a more coherent visual aesthetic that provides energy savings and is

suitable for a gallery space; Increase flexibility of lighting control and operation from wireless device;

Reduce gallery energy consumption.


Gallery Lighting

New Erco LED, DALI dimmable track luminaires are proposed to replace the older Ercotrack luminaire technology, aiding in reducing the energy footprint of the lightingscheme and assisting in providing greater flexibility in the lighting control approach.

Additional spotlight LED track luminaires are proposed to be introduced into thelighting system for further control and flexibility of the lighting solution.

As the existing Erco 3-circuit track is in good working condition, it is proposed that thisis retained in the upgrade and electrically re-configured to accept the new DALIdimming protocol.

As the existing mono-point luminaires are in good working condition, but areredundant in the space, it is proposed that these are removed and returned to thegallery for future use elsewhere.

Architectural Lighting

Though not directly lighting artworks within the space, the architectural lightingsignificantly contributes to the sense of brightness and openness of the space andenhances the viewing experience.


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It is proposed that the existing fluorescent lamps in the architectural cove are replacedwith a simple, energy efficient linear LED strip light with diffuser to uplight the ceiling.Consideration may be given to re-painting the ceiling in a matt white to increase thediffusion of light across the surface.

It is proposed that the existing metal halide wall uplights are retained but re-lamped toreduce the energy consumption.

Lighting Control

It is proposed to install an intelligent DALI lighting control system for this area of thegallery to provide greater flexibility and allow individual luminaires to be programmedand set to the required dimming level.

It is anticipated that as the institution upgrades adjacent gallery areas, these could beconnected to the central intelligent lighting control network for consistency,maintenance and monitoring of the lighting installation in the building.

It is proposed that a mobile device/tablet be purchased by the gallery to undertakelighting control changes as the programmer moves around the space. This allows realtime setting of the fittings in the context of the exhibition.

General modes may be considered for day-to-day use including use of the lighting toprovide circulation, night time security and cleaning modes as well as general gallerylighting.

3.5.3 Discussion

The proposed lighting upgrade of the Hazelhurst Regional Gallery and Arts Centreaims to achieve energy initiatives through implementation of the following:

1. Replacement of existing luminaires with more efficient light sources and newLED luminaires

The current installation is comprised of the following:

8 x 150W metal halide uplights8 x 150W Erco monopoint luminaires25 x 150W Erco track wallwashers9 x 36W T8 Fluorescent battens

These are proposed to be replaced with:

8 x 35W metal halide lamps to existing wall fittings30 x 24W LED DALI Erco track mounted wall washers8 x 26W LED DALI track mounted spotlight projectors11,600mm x 17W/m LED strip light with diffuser

The luminaire quantity is proposed to be slightly increased to provide greater flexibilityto the gallery. The energy consumption, however, proposes to offer a significantsaving. As a comparison of the proposed energy reduction, the total wattage of theexisting lighting scheme results in a load of 6,474W which is proposed to be reducedto a load of 1,405W in the lighting upgrade. This results in a potential energy saving of79%.

2.


The proposed lighting control system offers a key contribution to the operationalsavings of the electrical consumption of the lighting upgrade. Through the

programming of individual luminaires and lighting scenes, the gallery will be able toprovide the required illuminance levels without over-lighting the space. This is alsobeneficial from a conservation point of view, reducing the lux hours on the artwork.


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4.0 SummaryWith changes in legislation and greater public awareness of energy consumption,moving towards LED light sources assists in reducing the energy load of a gallery ormuseum and achieving compliance whilst responding to wider public concerns.

Case study analysis indicates that there are a wide range of lighting upgrade

initiatives that can be undertaken to achieve an energy efficient and better suitedlighting solution no matter the size or budget of the gallery. The key issues toconsider include:

LED Luminaire Upgrade Benefits

All case study galleries have shown a significant energy saving when moving fromtraditional light sources such as incandescent and halogen, to newer LED lightingtechnology. As well as the energy savings, the case studies demonstrate that LEDtechnology can improve the light quality of the space and be suitable for museum andgallery lighting requirements. The type of LED upgrade is determined by theavailable funding and condition of the existing lighting infrastructure. Energy savingsare achievable through a simple LED lamp replacement upgrade to a more complete

luminaire, lighting control and track upgrade.

Lighting Control Upgrade Benefits

A variety of lighting control solutions are available to suit different gallery-specificrequirements. Whilst intelligent lighting control provides far greater flexibility andmonitoring of a lighting system, more traditional lighting control methods may bemore suitable in some contexts due to monetary or functional requirements.Intelligent lighting control can be utilised in a variety of configurations to provide thelevel of flexibility required by the gallery. Whilst the Brett Whiteley Studio utilisesindividual programming for complete flexibility of the lighting control system, othergalleries may prefer a simplified user interface with pre-programmed scenes ordimming control over larger groups of fittings. As noted in the case study feedback,all lighting control solutions have benefits and drawbacks. It is important to assesseach gallery on a case-by-case basis to suit the functional and budget requirements.

Payback

One of the main concerns when it comes to lighting upgrades is the payback of theinstallation. Whilst smaller galleries with reduced opening hours may see a longerperiod of payback in terms of purely monetary return on capital outlay, there are manyother factors that play an important role in assessing the overall payback of a lightingupgrade.

The perception of prestige plays a crucial role in the profile of the gallery in theindustry and also in the public realm. A gallery seen to be constantly striving toimprove the user experience, responding to environment issues of energyconsumption and embracing new technology, is likely to increase visitation and bemore attractive to potential exhibitors. By enhancing their long-term sustainability andenergy efficiency, museums and galleries can also set a positive example and educatetheir communities.

Documents

A Case Study on Lighting for Museums and Galleries Final